Witold

The Taxi Index

There are so many indices for measuring urban success: creative jobs, low crime rates, low pollution, walkability, high education levels, happiness quotients. I would add another. Returning to Philadelphia from a trip last week I took a taxi. I sat in a beat-up car, squashed into the back seat by a crudely made security barrier plastered with scratched up decals, no air-conditioning, and to add insult to injury, the reckless driver didn’t even know the city. I had just come from LA where all the taxis I took were new Prius’s, picked me up on time, and the drivers seemed to know there way around.

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Round and Round

Palladio’s Villa Rotonda has provided inspiration for architects over the ages, starting with Vincenzo Scamozzi, Palladio’s student who completed the Villa Rotonda after his master’s death. Scamozzi built La Rocca, a hilltop villa in nearby Lonigo. Inigo Jones designed several bi-axial houses, but never found a client. In the eighteenth century, there were at least four British Rotondas, the most celebrated being Lord Burlington’s Chiswick House. There are a number of more recent examples; I have seen a house inspired by Rotonda on the outskirts of Pittsburgh, designed by Alvin Holm,

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Crying Wolf

I visited a house by a famous architect (he’s a friend, so let’s just call him The Architect). The house was beautiful, thoughtfully designed and exquisitely executed. Very low key, suiting its rural site. Minimalist, in a luxurious sort of way. And big. The occupants were a retired couple, with grown-up children long since moved away, but their home was the size of a small primary school. The main corridor was a hundred and fifty feet long, and the house didn’t end here, there were still garages and outbuildings.

There have been wonderful houses in the past,

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City Limits

There are different arguments to be made about raising the height limit on buildings in the District of Columbia, but both Representative Darrell Issa and New York Times reporter Rebecca Berg are mistaken when they describe the original decision to set height limits as “arbitrary.” Before the Building Heights Act of 1899 was passed, Congress sent a commission to Europe to study height limits in cities such as London (80 feet), and Paris, Berlin, and Vienna (64 feet), and to also look at American cities, most of which had height limits (New York and Philadelphia were two exceptions).

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Zigzag

I’ve always wondered where the continuous zigzag form came from (it has no name). Rem Koolhaas used something like it on the Educatorium, where a line suggested—improbably—that the roof and the floor were actually the same surface,  just bent. Since then the ZZ Shape has proliferated, mostly on fashionable façades. Diller Scofidio + Renfro  used it on the ICA in Boston, and in their proposed Eyebeam Museum in New York.

 

I came across the Ur-ZZ the other day. In 1923, Walter Gropius designed a pair of newspaper stands as part of his office redo in the WeimarBauhaus.

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Taken by Modernity

In 1971 I entered a competition for an addition to the British Houses of Parliament. My design blended Aalto with Le Corbusier—my two heroes. In hindsight, the large complicated project was far beyond my pay grade, but I was ambitious. Still, whatever in the world  made me decide to do all the area calculations for the complicated building on an abacus? Cheap pocket calculators did not become popular until the mid 1970s, but still! I didn’t win the competition, but I still have the abacus. I remember the pleasant clickety-click of the wooden beads. I’ve never had such a fond memory of a pocket calculator.

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Potemkin Village

This is the definitely the year of the Chinese architect. Wang Shu wins the Pritzker Prize, the dissident Ai Weiwei’s takes part in the design with Herzog & de Meuron of this year’s Serpentine Pavilion (which Paul Goldberger tweeted is “thoughtful, pleasant, hardly anyone’s greatest moment”), and now the British magazine, Architectural Review, presents its 2012 House Award to John Lin, an assistant professor at the University of Hong Kong and a principal in the firm Rural Urban Framework. The house is surrounded by a perforated brick screen. Behind the screen, four courtyards accommodate family activities, animals,

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Raising the Bar

An old student of mine who recently opened his own office in Washington, D.C. asked me why I thought the new homegrown architecture of that city was, to put it kindly, uninspired. After serving eight years on the Commission of Fine Arts I’ve seen a lot of projects. Apart from a few buildings by outsiders (Richard Rogers, Bing Thom, David Adjaye) most of the work has been pedestrian, architecturally unambitious, and lacking any real critical thought, that is, intellectually mushy. Without constructive and challenging criticism—which can only come from colleagues, not from critics or clients—practitioners easily get lazy. While there is an enviable amount of construction in DC—federal,

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